William Cutter’s Brahms Requiem with TFC reviewed

“The heroes of the evening were the members of the Tanglewood Festival Chorus, prepared by Bill Cutter, who sang with crystalline diction and a tender emotional touch.” – READ MORE… 

“In place of titulaire John Oliver, Bill Cutter prepared the Tanglewood Festival Chorus to exacting standards.” – READ MORE…




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Pianist David Deveau is in Japan

Performing with clarinetist Richard Stoltzman at Munetsugu Hall, Nagoya, Japan

david in japan

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Mark Harvey and Aardvark on the Artery

Read story on WBUR’s The Artery

Mark Harvey and The Aardvark Jazz Orchestra. Photo by Kathy Matson

Mark Harvey and The Aardvark Jazz Orchestra. Photo by Kathy Matson

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Prof. Patricia Tang’s research on Aby Ngana Diop

Patty tang













Patricia Tang,  Associate Professor of Music contributed to the re-release of a recording by Senegalese griot Aby Ngana Diop referenced in this Vogue article.  The recording was also reviewed in Rolling Stone magazine.

The CD release is part of Brian Shimkovitz’s Awesome Tapes from Africa project to catalogue and re-release cassette-based music from Africa.

“…Professor at MIT, Patricia Tang, had done research on Aby’s music and written a book about Senegalese drumming. She connected me with some of Aby’s family members living in Vermont, of all places, who, after about a year, were able to get me in touch with Aby’s eldest daughter in Dakar. With the help of Aby’s grandson Lamine Diop, who is a college student, we made arrangements to release her album for the first time outside Senegal. Professor Tang wrote wonderful liner notes for the CD so we can finally share more about Aby with the world, and let everyone know why she stands out in a country filled with renowned artists..”   MORE

HERE is the Rolling Stone Magazine review.

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Evan Ziporyn featured in Boston Globe

Classical Notes

Ziporyn celebrates stylistic synthesis with MIT concert series

 By David Weininger

 | Globe Correspondent   September 11, 2014
Evan Ziporyn’s concert next Tuesday at MIT celebrates his “20,000th day on earth.” At first glance you might think that Ziporyn, a musically omnivorous composer, clarinetist, and gamelanist, is trying to jump the bandwagon of the similarly titled Nick Cave pseudo-documentary, which opens three days after the concert.
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MIT Women’s Chorale, welcomes new singers

MIT Women’s Chorale, welcoming new singers
Time: 7:15p–9:30pm,  Wednesdays, starting Sept 10 ( except our second rehearsal ONLY will be on a Thursday, Sept 18)
Location: 10-340
The Chorale welcomes women from throughout the MIT community as we prepare for our December 6th holiday concert, which will include a spirited mass by Michael Haydn, music of Bach and Giordano, a Hannukah piece written especially for us by our music director, Kevin Galie, and an amusing piece by a local musician who is an MIT alum.

New members may join at any of the first three rehearsals, Sept 10, 18, or  24. No audition is required, although new members are encouraged to come at 7 pm on their first night so that we may place you into the appropriate vocal part with a simple range check.  For further information please see our website:


For more information, contact:
Sis de Bordenave

Photo: Sara Nelson

seeking new voices
Meridian Singers, directed by Todd Beckham, an a cappella concert chorus open to all in the MIT community, is seeking new members for our fall season, singing music from medieval times to present day.
Rehearsals: noon to 1 PM Tuesdays, beginning September 9, 2014. Most rehearsals, beyond the first two of the season, will be in room 13-1143.

Prospective singers should contact us to make arrangements to meet with our conductor and learn the location of the first two rehearsals by contacting us at:


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Theater Arts Open House

You are invited to the Theater Arts Open House
Tuesday, September 2 from 7-9pm in E33.

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Tour de SHASS

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Jay Scheib in the New Yorker

“The Maids” Is a Pile of Fake Flowers


“It’s a measure of Cate Blanchett and Isabelle Huppert’s willingness to stay open and grow as stage performers that they even agreed to appear in the director Benedict Andrews’s version of Jean Genet’s “The Maids.” Andrews, who worked on a new translation of the 1947 play with the writer Andrew Upton, is the kind of director actors are often drawn to—flashy “bad boy” handlers on the prowl for cultural relevance. (Andrews is the director behind the current London revival of “A Streetcar Named Desire,” starring the underrated, fascinating Gillian Armstrong.) But Andrews’s edge is borrowed; we’ve already seen his use of video cameras, stylized choreography, soundtracks featuring popular “underground” music, clear glass walls, overstuffed sets, and so on, first in the work of the avant-garde Flemish director Ivo van Hove and then in shows staged by the American director Jay Scheib. These are theatre artists of note, with an interest in how classic material does and does not play in the contemporary world. Unlike van Hove and Scheib, though, Andrews is in thrall to the machinery of culture—stars and sets and the like—and his enthusiasm stops short of where it should really count: the script itself.”



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Keeril Makan work reviewed at Tanglewood

keerilmakan.sachs-1New York Times:

…a concert that also featured Keeril Makan’s “2” (1998), a dazzling duet for violin (Jordan Koransky) and percussion (Joseph Kelly) that began with stark unison attacks. Gradually morphing in pitch, color and speed, the muscular yet subtle work ended in a blaze of noise, alternating groans and screeches, with Mr. Koransky making high static, and Mr. Kelly bowing the edge of a metal sheet.


Boston Globe:

Sound dominated Saturday’s concert, beginning with Keeril Makan’s extraordinary, arresting “2,” a 1998 violin-percussion duo of grim, glinting ecstasy, the rites superbly performed by Jordan Koransky and Joseph Kelly.


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